李韑铭

 落雪飞舞

名字：李韑铭

鉴赏项目：中国古典舞

语录：雪落下，舞飞扬

 

中国古典舞介绍 (Introduction of Chinese Traditional Dance)

1949年，新中国成立，面临着百废待兴的状态，舞蹈艺术事业也破土而出，许多舞蹈家开始对中国古典舞进行探索。当时中国古典舞也面临着将近800年断层的问题，导致其难以被传承发展。“中国古典舞”的概念最早由欧阳予倩提出，指的是具有中国品格、中国古典风格特征的含有典范意义的舞蹈。在1984年“身段”课程被改称为“身韵”。敦煌舞则是源于壁画中的舞姿，在洞窟中有许多图像都反映了中古时期音乐舞蹈发展的全过程。老一辈舞蹈艺术家们对敦煌舞的神态、眼神、手型、神韵等进行深入研究。最终，敦煌舞形成了独树一帜的中国古典舞流派。

In 1949, New China was founded and every field was facing a state of being abolishment and construction. Dance career also broke through the ground, many dancers began to explore Chinese Traditional Dance. At that time, Chinese Traditional Dance also faced the problem of nearly 800 years of chasm, which made it difficult for Chinese Traditional Dance to be inherited and developed. The concept of “Chinese Traditional Dance” was first proposed by Ouyang Yuqian, he claimed that Chinese Traditional Dance was danced with typical meaning of Chinese character and Chinese traditional style. In 1984, the “figure” course was renamed to “body rhyme”. Dunhuang Dance is derived from the dances in the murals. There were many images in the caves that reflect the whole process of the development of music and dance in the Middle Ages. The older generation of dancers conducted in-depth research on the look, eye expression, hand posture and charm of Dunhuang Dance. In the end, Dunhuang Dance formed a unique genre in Chinese Traditional Dance.

 

鉴赏与心得 (Appreciation)

中国古典舞的身韵有四字口诀：“形、神、劲、律”。这四字口诀从各个角度概括了身韵的动作形态和表演特点。“形”指外在的直接可视的流动和静止的形态，往往都注重在‘拧’、‘倾’、‘扬’、‘曲’，具有“曲线性”的体态；“神”指神韵，强调歌曲中的韵律感，注重在‘提’、‘沉’、‘含’、‘腆’、‘仰’、‘旁’”、‘冲’、‘靠’；“劲”指对动作内外节奏和层次结构的变化处理；“律”指舞蹈形态的规律性路线或舞蹈动作的运动规律。敦煌舞蹈的造型姿态则大多呈现出“S”形态的曲线美，在此基础上，添加了多棱角、多弯、多折的形态作为展开。因此，敦煌舞就形成了非常独特的曲线之美，这些曲线也让敦煌舞与其他舞种有明显的区别，形成了独特的审美特征。

我很想尝试学习中国古典舞与敦煌舞，因为本身有在学习现代舞蹈，对传统舞蹈只有自学的经历，并不精通，所以趁中华艺术课这个机会来学习相关的知识。我也找了许多文献来参考，让我对中国古典舞与敦煌舞有更清晰的了解。这其实也是我第一次自己编完整首歌的舞蹈，虽然有难度，但也多亏了我所找到的文献才能让我更顺利的去完成创作。比如中国古典舞的“身韵”其实都有帮助我进行舞蹈的创作。

The “body rhyme” of Chinese Traditional Dance has a four-character formula: “shape, spirit, strength and rhythm”. This four-character formula sums up the movement form and performance features of body rhyme from various angles. “Shape” refers to the outward and directly visible flowing and static forms, and it focus on ‘twisting’, ‘tilting’, ‘glanced upward’, and ‘bending’, these postures be provided with “curvilinearity”. “Spirit” refers to charm, it emphasizing the sense of rhythm in the song, and pay attention to ‘lift’, ‘keep down’, ‘veiled’, ‘virtuous’, ‘glanced upward’, ‘side’, ‘charge’, and ‘reliant’. “Strength” refers to the processing of changes in rhythm and hierarchical structure of internal and external movement. “Rhythm” refers to the regular route of the dance form or the movement law of the dance movement. For the modelling postures of Dunhuang Dance, mostly show the curvaceous beauty of “S” shape. On this basis, many more are added like the shapes of edges and corners, multiple curve, and multiple bends are used as expansion. Therefore, Dunhuang Dance has formed a very unique beauty of curves. These curves also make Dunhuang Dance distinct from other genres of dance and forming an unique aesthetic characteristics.

I really wanted to try to learn Chinese Traditional Dance and Dunhuang Dance, because I am learning modern dance, and I have only self-study experience in traditional dance, but I am not proficient in it, so I take the opportunity of this class to learn the knowledge about Chinese Traditional Dance and Dunhuang Dance. I also looked for many documents for reference, which gave me a clearer understanding of Chinese Traditional Dance and Dunhuang Dance. This is actually the first time I have made a whole song choreography by myself, although it is difficult,but  thanks to the documents that I found, so that I can complete the creation more smoothly. For example, the “body rhyme” of Chinese Traditional Dance actually helped me in my choreography creation.